Jedsada Tangtrakulwong graduated from the San Francisco Art Institute, USA and  the Slade School of Fine Art, UK. His experimental projects have ventured across media and disciplines, focusing on specific areas frequently connecting the exhibition space and architectural structure leading towards creation of new spaces, both harmonious and alienating. He then expands the contexts of his work to include social, cultural and political issues as well as those concerning nature and the environment. He works with people in many professions and viewers have often become an important element in his work.

A Corner at the Halfway Mark reflects the relations of things and how their existence depends on this interrelationship. Either living or non-living things cannot be by themselves. This series of three works connects learning museums in the Thailand capital and villages of Karen people who live with the nature in the north. The artist uses natural spaces including national parks and parks along the highways as connection space and routes. First, A Space between Mountain and Lowland presents botanical relations as the artist has been inspired by names and shapes of trunks, leaves and colors of vegetation commonly found in natural land reserves and urban parks. Second, for the sculpture The Notes from Lower to Higher, the artist has cut in half the structure of Saranrom Park’s bandstand or octagon-shaped stage, where music performances including those by military brass bands were presented, and substitute its material with that of Karen people’s houses. Third, Breath Sounds of Objects that Are Invisible but Exist seems to be a connecting point of learning museums, national parks, natural tourist attractions and Karen people’s villages.